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SIR  ANTHONY  VAN  DYCK  BARON  ARNOLD  DE  ROY  OF 

1599-1641  ZUIDERWYN 

CANVAS       H.  76  IN.       W.  48  IN. 


GEORGE   A.   HEARN  GIFT 

TO  THE 

METROPOLITAN  MUSEUM 
OF  ART 

IN  THE  CITY  OF  NEW  YORK 
AND 

ARTHUR  HOPPOCK  HEARN 
MEMORIAL  FUND 


NEW  YORK 
PRINTED  FOR  THE  MUSEUM 
MCMXIII 


CORRESPONDENCE 

THE  following  letters  which  passed  between  Mr.  Hearn  and 
the  President  and  Trustees  of  the  Metropolitan  Museum 
set  forth  the  wishes  of  the  donor  and  the  conditions  under 
which  the  gift  was  made  and  accepted. 

THE  OFFER 

December  18,  1905 

J.  Pierpont  Morgan,  Esq. 

President,  Metropolitan  Museum  of  Art,  Central  Park,  New 
York  City 

Dear  Sir  : 

According  to  my  recollection  there  are  fifty  pictures  in  Gallery 
15,  twenty-two  of  which  have  been  given  and  twenty-eight  loaned 
by  me. 

Instead  of  four  of  these,  I  wish  to  substitute  four  others,  being 
better  pictures,  namely:  "Lady  Hamilton  as  Daphne,"  by  George 
Romney;  "Peg  Woffington,"  by  William  Hogarth; "  Mrs.  Pulham," 
by  John  Constable,  and  "  Master  Hare,"  by  Sir  Joshua  Reynolds. 

After  the  changes  are  made  I  desire  to  present  them  all  to  the 
Museum,  on  condition  that  they  shall  all  remain  together  in  the 
gallery  they  are  now  in  or  some  other  of  equal  size  and  importance, 
equally  well  lighted. 

In  connection  with  the  above  I  will  also  give  One  Hundred 
Thousand  Dollars,  income  to  be  used  in  purchase  of  American 
pictures. 

If  this  is  agreeable  to  the  Trustees,  I  will  either  have  the  four 
pictures  sent  to  the  Museum  or  show  them  to  the  Committee  on 
Paintings  at  my  home  at  such  time  as  may  be  convenient  to  them. 

On  notification  that  these  gifts  will  be  acceptable,  I  will  make 
offer  formal. 

Yours  truly, 

George  A.  Hearn 


To  the  Trustees  of  the  Metropolitan  Museum  of  Art 


Thursday,  January  n,  1906 

Gentlemen : 

Objection  having  been  raised  to  the  condition  accompanying 
my  offer  of  pictures  and  money  to  the  Museum,  I  deem  it  but  due 
to  myself  to  offer  justification  therefor. 

It  having  been  said  that  it  is  difficult  to  meet  the  demand  that 
gifts  of  paintings  be  kept  together  permanently,  because  such  collec- 
tions represent  different  nationalities  and  periods,  I  would  reply, 
that  while  such  difficulty  might  arise  where  the  gifts  number  a  dozen 
or  so,  it  cannot  be  true  where  an  entire  gallery  is  harmoniously  filled 
from  a  definite  standpoint,  for  then  the  collection  becomes  a  unit,  or, 
let  us  say,  a  small  museum  in  itself,  the  separate  works  contained 
therein,  holding  consistent  relation  to  each  other,  completing  the 
roundness  of  the  whole. 

This  collection  is  not  simply  a  number  of  unrelated  pictures 
that  happened  to  please  the  fancy,  brought  to  the  Museum  from  the 
walls  of  my  home;  on  the  contrary,  it  is  a  collection  formed  in  the 
gallery  where  it  now  hangs,  during  a  number  of  years,  having  been 
subjected  to  frequent  changes,  always  with  improvement,  and,  by 
consent  and  approval  of  the  authorities,  until  the  present  harmony 
was  secured. 

To  scatter  these  paintings  through  different  rooms  would  be  to 
undo  the  result  I  have  desired  to  attain,  and  the  artist  or  art  lover 
will  find  nothing  in  Gallery  15  to  interfere  with  his  enjoyment,  nor 
can  the  effect  be  said  to  be  disturbing  to  the  Museum. 

It  is  but  natural  that  donors  should  prefer  to  have  their  gifts 
assembled  where  they  may  be  seen  at  their  best,  rather  than  scattered 
through  various  rooms.  Certain  collections  of  paintings,  porcelains, 
jades  and  musical  instruments,  now  in  the  Museum,  are  far  more 
interesting  shown  by  themselves,  than  if  broken  up.  Furthermore, 
they  are  gifts  no  Museum  can  afford  to  refuse  on  the  ground  that 
they  are  to  be  kept  together  permanently;  for  it  is  to  the  generosity 
of  private  individuals  that  we  must  look  for  the  constant  growth 
of  the  institution. 

To  distribute  this  collection  now  according  to  schools  would  be 
to  substitute  a  mechanical  subdivision  for  an  arrangement  arrived 
at  after  years  of  loving  study. 

The  objection  raised  to  keeping  together  individual  collections 
has  not  disturbed  European  Museums.  For  example,  in  the  Na- 
tional Gallery  we  find  the  Peel  Collection,  though purcha sed'm  1871, 
is  still  kept  together;  then  there  are  those  notable  examples  of 
Turner,  which  were  accepted  by  the  Trustees  with  the  condition 
that  they  should  hang  with  the  Claudes.     In  the  South  Kensington 


vi 


we  find  the  Sheepshanks  Pictures  kept  together,  as  well  as  the 
Forster,  the  Dyce  and  others ;  also  the  admirable  collection  of 
Furniture,  Pictures  and  Art  Objects  bequeathed  by  Mr.  Jones. 

In  the  Louvre  hangs  the  La  Caze  Collection.  In  the  Ryks 
Museum  at  Amsterdam  we  find  the  Van  der  Hoop  Collection 
occupying  rooms  by  itself;  and  in  this  same  Museum  we  note  the 
Dupper  Collection,  the  Van  de  Poll  Collection,  as  well  as  four  lesser 
ones,  kept  together  as  harmonious  units. 

It  is  worthy  of  remark  that  the  Reid  Collection  bequeathed  to 
the  Glasgow  Gallery  with  the  same  condition,  numbers  but  ten 
paintings,  divided  between  four  nationalities ;  others  might  be 
named  if  further  examples  were  needed.  In  fact,  if  there  be  any 
ground  for  such  objection,  does  it  not  seem  strange  that  the  fore- 
most European  Museums  deliberately  create  such  collections  by 
assembling  conspicuous  pictures  of  different  periods  and  nation- 
alities in  single  rooms?  In  the  Tribune  of  the  Uffizi  in  Florence  do 
we  not  find  works  by  Van  Dyck,  Durer  and  Cranach  hanging  with 
those  of  Titian,  Raphael  and  Correggio?  In  the  Salon  Carre 
of  the  Louvre  we  find  Rembrandt,  Dou  and  Van  Dyck  hanging  with 
Bellini,  Titian  and  Leonardo,  or  touching  shoulders  with  Murillo, 
Paul  Veronese,  Memlinc,  Rubens,  Holbein  and  others. 

The  same  assembling  of  varied  works  appears  in  the  great  Gallery 
of  the  Wallace  Collection,  the  latest  European  museum  opened — one 
of  the  great  rooms  of  the  world — where  Dutch,  Flemish  and  Eng- 
lish, Italian  and  Spanish  pictures  hang  side  by  side  to  the  advantage 
of  the  whole.  The  great  room  of  the  Hermitage  Gallery  contains 
works  by  Italian,  Spanish,  Dutch,  Flemish  and  other  nationalities. 

On  the  other  hand,  anyone  who  has  visited  the  exhibitions  of 
the  work  of  a  single  painter,  must  have  felt  the  loss  which  such 
a  painter  sustains  in  the  ordeal,  whether  it  be  the  great  Rem- 
brandt and  Van  Dyck  exhibitions  of  a  few  years  ago  abroad,  or 
the  shows  of  modern  painters,  like  Cazin  and  Inness,  held  in  this 
city.  It  is  an  indisputable  fact  that  two  pictures,  both  good,  by 
the  same  artist,  may  be  hurt  by  being  hung  together;  this  is  recog- 
nized in  the  best  arranged  galleries  of  the  world.  Who  has  not 
felt  disappointed  on  first  visiting  the  room  in  the  National  Gallery 
where  the  Turners  hang,  or  upon  entering  the  great  room  in  the 
Hermitage,  where  forty-one  examples  of  Rembrandt  are  to  be  seen? 

If  paintings  are  only  to  be  enjoyed  and  studied  when  arranged 
in  chronological  sequence,  the  same  rule  would  apply  to  exhibits  of 
sculpture,  bronzes,  porcelains  and  other  objects  shown  in  these  halls. 
But  will  any  one  claim  that  such  is  the  case  ?  The  proportion 
of  visitors  that  demand  such  a  condition  for  their  enjoyment  is 
small  indeed.  ./Esthetic  pleasure  derived  from  a  work  of  art  is  not 
dependent  on  any  such  chronological  or  mathematical  arrangment. 
While  considerations  of  size,  color  and  tone,  and  space  to  be  oc- 


vii 


cupied,  must  enter  into  any  arrangement  of  pictures,  it  is  essential, 
first  and  last,  that  the  works  shown  be  of  good  quality  and  repre- 
sentative of  their  authors. 

The  fifty-one  paintings  in  this  collection  in  Gallery  15  embrace 
only  four  nationalities,  34  of  them  being  English,  8  Dutch  and 
Flemish,  3  French  and  6  American.  The  English  pictures  are 
arranged  in  two  groups,  facing  each  other  on  the  east  and  west 
walls.  The  Dutch  and  Flemish,  by  making  one  change,  can  be 
practically  brought  together,  namely,  by  transposing  the  Van  Dyck 
and  the  Vincent  and  the  Romney  ;  but  this,  in  my  opinion,  would 
not  be  an  improvement,  as  the  light  is  more  favorable  to  the  Van 
Dyck  where  it  now  hangs. 

The  Americans  were  purposely  hung  in  the  Gallery  to  show  that 
good  American  pictures  can  hold  their  own  against  the  foreigners ; 
I  never  having  discriminated  in  making  purchases,  the  test  always 
being,  "  Is  the  picture  good  ?  "  and  the  only  preference  being  to  buy 
the  American  when  quality  and  value  were  equal. 

While  under  the  impression  that  my  gifts  of  pictures  and  money, 
as  offered  at  the  December  1  8th  meeting  of  the  Board,  had  been 
unanimously  accepted  by  the  Trustees,  nevertheless,  in  deference  to 
views  of  those  who  think  that  the  Museum  should  not  be  bound 
to  perpetual  conditions,  I  have  amended  the  offer,  in  full  expec- 
tation that  the  authorities  of  the  Museum,  as  now  or  hereafter 
constituted,  will  consider  themselves  under  moral  obligation  to 
conform  to  wishes  expressed. 

Very  truly  yours, 

George  A.  Hearn 

THE  AMENDED  OFFER 

Thursday,  January  11,  1906 

J.  Pierpont  Morgan,  Esq. 

President,  Metropolitan  Museum  of  Art,  Central  Park,  New 
York  City 

Dear  Sir: 

I  have  heretofore  presented  to  the  Museum  twenty-four  pictures, 
and  now  desire  to  present  in  addition  twenty-seven  pictures  with 
the  full  expectation  that  the  authorities  of  the  Museum  as  now 
or  hereafter  constituted  will  consider  themselves  under  moral 
obligation  to  keep  the  fifty-one  pictures  (see  list  below)  together, 
for  the  period  of  not  less  than  twenty-five  years  from  the  date 


viii 


hereof,  in  the  gallery  they  are  now  in,  or  all  together  in  some  other 
gallery  of  the  Museum  of  equal  size  and  importance,  equally  well 
lighted. 

Should  the  pictures  of  the  Museum,  after  the  twenty-five  years 
have  expired,  become  so  numerous  as  to  make  it  desirable  for  them 
to  be  grouped  according  to  their  respective  schools  of  art,  while  I 
should  prefer  that  they  should  remain  in  a  gallery  by  themselves, 
as  above  stated,  it  will  be  deemed  compliance  with  above  expressed 
expectation,  if  all  of  the  pictures  belonging  to  each  school  are  hung 
together  as  a  group,  in  galleries  with  others  of  the  same  school  with 
a  group  label  above  each  group,  designating  the  pictures  as  belong- 
ing to  the  "  George  A.  Hearn  Collection,"  and  each  picture  neatly 
labeled,  in  addition  to  the  name  of  the  artist,  "  George  A.  Hearn 
Gift." 


*Inness,  George,  N.  A. 
Peace  and  Plenty 

*Gainsborough,  Thomas,  R.  A. 
Portrait  of  Mr.  Burroughs 
Uncle  of  the  Artist 

*Bonington,  Richard  Parkes 
Coast  Scene,  Normandy 

*Stark,  James 
Willows  by  the  Water  Courses 

*Wilson,  Richard,  R.  A. 
The  Storm 

*Callcott,  Sir  Augustus  Wall,  R.  A. 
Landscape 

*Harlow,  George  Henry 
Portrait  of  the  Artist 

^Reynolds,  Sir  Joshua,  P.  R.  A. 
Portrait  of  Mrs.  Arnold 

^Constable,  John,  R.  A. 
Bridge  on  the  Stour 

*Pine,  Robert  Edge 
Portrait  of  Mrs.  Reid 
in  Character  of  Sultana 

*Hoppner,  John,  R.  A. 
Portrait  of  a  Lady 
Known  as  the  Lady  with  Coral  Necklace 

*Lely,  Sir  Peter 
Portrait  of  Sir  William  Temple 

Hogarth,  William 
Peg  Woffington 

*Kneller,  Sir  Godfrey,  Bart. 
Portrait  of  Lady  Mary  Berkeley 


*Wilson,  Richard,  R.  A. 
Landscape  and  Figures 

*OsTADE,  ISACK  VAN 

Winter  in  Holland 

"HOOCH,  PlETER  DE 
Dutch  Interior 

Willaerts,  Adam 
River  Scene  with  Boats 

Eeckhout,  Gerbrandt  van  den 
Destruction  of  Sodom  and  Gommorah 

Murant,  Emanuel 
The  Farm 

Poussin,  Gaspard 
Landscape  and  Figures 

Cuyp,  Aelbert 
Landscape  with  Cattle 

Reynolds,  Sir  Joshua,  P.  R.  A. 
Portrait  of  a  Lady 

Vincent,  George 
Landscape 

Romney,  George 
Lady  Hamilton 

Crome,  John  (called  Old  Crome) 
The  Landing 

Cotman,  John  Sell 
English  Village 

Nasmyth,  Peter  (called  Patrick) 
Landscape 

Van  Dyck,  Sir  Anthony 
Baron  Arnold  de  Roy 


ix 


*Raeburn,  Sir  Henry 
Portrait  of  William  Forsyth 

^Reynolds,  Sir  Joshua,  P.  R.  A. 
The  Duke  of  Cumberland 

*Morland,  George 
Midday  Meal 

* Cottm an,  John  Sell 
Coast  Scene 

*Beechey,  Sir  William,  R.  A. 
Portrait  of  a  Lady 

^Claude,  Le  Lorrain 
A  Seaport 

Constable,  John,  R.  A. 
Lady  Ellenborough 

Lawrence,  Sir  Thomas,  P.  R.  A. 
Mrs.  Pulham 

Gainsborough,  Thomas,  R.  A. 
English  Landscape 

Philip,  John,  R.  A. 
Gossips  at  the  Well 

Mytens,  Daniel 
Portrait  of  King  Charles  I 


Wilson,  Richard,  R.  A. 
Italian  Landscape 

Jongkind,  John  Barthold 
Sunset  on  the  Scheldt 

Reynolds,  Sir  Joshua,  P.  R.  A. 
Master  Hare 

Reynolds,  Sir  Joshua,  P.  R.  A. 
Portrait  of  Mrs.  Angelo 

Blanchard,  Jacques 
Venus  and  Adonis 

Huysmans,  Cornelius 
Landscape  with  Figures 

Blakelock,  Ralph  A. 
Indian  Encampment 

Martin,  Homer  D. 
Sand  Dunes,  Lake  Ontario 

Wyant,  Alexander  H. 
Looking  Towards  the  Sea 

Wyant,  Alexander  H. 
Landscape 

Wyant,  Alexander  H. 
Broad  Silent  Valley 


♦Indicates  pictures  heretofore  presented 


I  would  ask  the  privilege,  from  time  to  time,  to  exchange  for 
others  in  the  above-named  collection  such  paintings  as  I  may  now 
have,  or  may  hereafter  acquire,  that  may  improve  the  harmony 
and  quality  of  the  collection,  each  of  such  exchanges  to  be  made 
with  consent  and  approval  of  the  Trustees. 

Fund  No.  i  —  In  connection  with  the  above,  and  for  the  en- 
couragement of  the  art  of  painting  in  this  country,  I  will  also  give 
One  Hundred  Thousand  Dollars  in  cash,  to  be  invested  by  the 
authorities  of  the  Museum  in  such  securities  as  their  judgment  may 
deem  advisable,  the  income  to  be  expended  for  paintings  by  persons 
now  living  who  are,  or  may  be  at  the  time  of  purchase,  citizens  of 
the  United  States  of  America,  or  by  those  hereafter  born,  who  may 
at  the  time  of  purchase  have  become  citizens  thereof. 

And  I  desire  to  empower  the  authorities  of  the  Museum,  as 
now  or  hereafter  constituted,  to  exchange  or  sell  any  painting  or 
paintings  purchased  with  the  income  of  the  fund  of  One  Hundred 
Thousand  Dollars;  such  paintings  to  be  exchanged  for,  or  proceeds 
of  paintings  sold  to  be  expended  for,  another  painting  or  paintings 
by  citizens  of  the  United  States  of  America,  as  limited  in  last  pre- 
ceding paragraph. 


X 


Fund  No.  2 — To  make  the  One  Hundred  Thousand  Dollars 
immediately  available,  and  to  insure  an  income  of  five  thousand 
dollars  for  some  years  to  come,  I  desire  to  give  an  additional 
Twenty-five  Thousand  Dollars,  so  that  five  thousand  dollars  may 
be  spent  for  paintings  during  the  year  1906,  and  from  the  twenty 
thousand  dollars  remaining  there  may  be  taken  sufficient  to  make  up 
each  year  such  amount  as  the  income  of  the  One  Hundred  Thou- 
sand Dollars  may  fall  short  of  five  thousand  dollars. 

In  connection  with  the  above,  I  also  offer  the  choice  of  all  of 
the  following  twelve  paintings  by  living  American  artists,  to  be  hung 
as  the  authorities  of  the  Museum  may  elect: 

Two  by  Winslow  Homer,  choice  of  two  out  of  three,  "North- 
easter," "  Search  Light,  Santiago  de  Cuba,"  "  Cannon  Rock,";  one  by 
Horatio  Walker,  "  The  Harrower  "  ;  one  by  J.  Alden  Weir,  "  Green 
Bodice";  one  by  Elliott  Daingerfield,  "  Slumbering  Fog";  one  by 
Abbott  H.  Thayer,  "  Young  Woman  "  ;  two  by  George  H.  Bogert, 
"  Chale  Church,  Isle  of  Wight,  England,"  "October  Moonlight"; 
(Hallgarten  prize)  ;  one  by  Henry  W.  Ranger,  "Spring  Woods"; 
one  by  Louis  Paul  Dessar,  "  Evening  " ;  one  by  F.  Ballard  Williams, 
"Passaic  River";  one  by  D.  W.  Tryon,  choice  of  "  Moonlight  " 
or  "  Autumn.  " 

Fund  No.  3 — I  believe  the  paintings  in  Gallery  15  are  all 
worthy  examples  of  and  executed  by  artists  to  whom  they  are  attrib- 
uted. Nevertheless,  to  provide  for  contingency  of  dispute  as 
to  authenticity,  I  will,  in  connection  with  the  above-named  gifts, 
present  to  the  Museum  an  additional  Twenty-five  Thousand  Dollars, 
to  be  invested  as  the  authorities  may  elect,  and,  in  case  of  dispute  and 
unfavorable  decision  by  experts  ( to  be  selected  by  the  Museum  ) 
in  regard  to  any  painting  or  paintings,  during  ten  years  from  the 
date  hereof,  I  will,  with  the  consent  and  approval  of  the  authorities, 
withdraw  and  replace  with  others  such  disputed  and  discredited 
painting  or  paintings,  if  any;  and  in  case  I  cannot  find  the  painting 
or  paintings  in  my  own  collection,  or  cannot  remove  them  without 
disarrangement  of  my  home,  I  to  be  privileged  to  use  all  or  part  of 
this  fund  of  Twenty-five  Thousand  Dollars  toward  the  purchase  of 
the  newly  selected  painting  or  paintings,  allowing  the  Museum  such 
amount  as  the  disputed  painting  or  paintings  can  be  sold  for. 

In  case  of  my  death,  the  authorities  of  the  Museum  shall  be 
likewise  privileged  to  sell  such  disputed  and  discredited  painting  or 
paintings,  if  any,  using  the  proceeds  thereof  and  the  fund  of  Twenty- 
five  Thousand  Dollars,  with  its  accumulated  interest,  or  so  much 
thereof  as  needed,  to  pay  for  the  picture  or  pictures  purchased. 

After  ten  years  this  Twenty-five  Thousand  Dollars  (  or  so  much 
as  may  not  have  been  expended  as  above  provided)  together  with 
its  accumulated  interest,  shall  be  added  to  the  heretofore  named 
gift  of  One  Hundred  Thousand  and  so  much  as  remains  of  the 


xi 


Twenty-five  Thousand  Dollar  gift  provided  to  purchase  paintings 
during  the  year  1906,  etc.,  and  from  the  income,  paintings  by  living 
American  artists  to  be  likewise  purchased. 


Fund  No.  1 
Fund  No.  2 
Fund  No.  3 
Total 


$100,000 
25,000 
25,000 

$1 50,000 


Very  truly  yours, 

George  A.  Hearn 


^RESOLUTION  OF  ACCEPTANCE 

At  a  meeting  of  the  Board  of  Trustees,  held  January  26,  1906, 
the  following  resolution  was  adopted  in  regard  to  the  gift  of  Mr. 
George  A.  Hearn: 

Resolved,  That  the  Trustees  of  the  Metropolitan  Museum  of 
Art  accept  the  munificent  gift  of  Mr.  George  A.  Hearn,  upon  the 
terms  contained  in  his  letter  of  January  11,  1906,  and  in  accepting 
it  they  desire  to  put  on  record  their  warm  appreciation  of  Mr. 
Hearn's  generosity  to  the  Museum  and  through  the  Museum  to 
the  people  of  this  city. 

The  collection  of  pictures,  which  has  been  assembled  in  the 
gallery  of  the  Museum,  and  already  bears  his  name,  is  a  notable  one. 
We  recognize  his  generous  intention  of  making  it  even  more  repre- 
sentative from  time  to  time.  We  particularly  welcome  his  gift  of 
American  pictures,  and  the  generous  endowment  which  he  has 
made  for  the  acquisition  of  contemporary  American  paintings. 

We  recognize  the  careful  forethought  with  which  he  has  guarded 
his  gift,  by  providing  for  the  withdrawal  of  any  picture  which  on 
expert  opinion  shall  not  be  deemed  authentic,  and  by  permitting 
the  exchange  of  American  pictures  hereafter  acquired  for  those  of 
greater  merit,  whenever  the  opportunity  for  such  a  favorable  exchange 
shall  present  itself. 

We  trust  he  may  realize  for  himself  some  of  the  pleasure  and 
satisfaction  which  his  fellow  Trustees  and  his  fellow  citizens  find 
in  this  important  addition  to  our  collection  and  our  resources. 


xii 


New  York,  April  19,  1909. 

Sir  Caspar  Purdon  Clarke,  Director, 
Metropolitan  Museum  of  Art, 
New  York 

Dear  Sir  Purdon  : 

In  the  Autumn  of  this  year,  if  then  living,  and  if  the 
Trustees  will  set  aside  Gallery  14  for  the  Hearn  Collection  of 
American  Pictures,  and  without  changing  terms  of  offer  of  pictures 
in  Gallery  15,  under  date  of  January  1  1,  1906,  and  under  privilege 
contained  in  that  offer  enabling  me: 

"to  exchange  for  others  such  paintings  as 
I  may  now  have,  or  may  hereafter  ac- 
quire, that  may  improve  the  harmony  and 
quality  of  the  collection,  each  of  such  ex- 
changes to  be  made  with  consent  and  ap- 
proval of  the  Treasurer." 

I  will  put  in  place  of  pictures  in  Gallery  15  : 

"  Landscape"  by  John  Crome  and  )  In  place  of 

"Mrs.  Barnard"  by  Sir  Joshua  Reynolds,  j  George  Innes 

"Landscape"  by  Cecil  Lawson  and  )  In  place  of 

"Miss  Baring"  by  Sir  Thomas  Lawrence.  j  three  Wyants 

"Earl  of  Ar.undel  and  his  Grandson,]  In  place  of 
afterwards  Sixth    Duke   of  Norfolk"  >-  Homer  Martin  and 
by  Sir  Anthony  Van  Dyck.  )  Ralph  A.  Blakelock 

Thus  representing  in  Gallery  1 5,  only  foreign  pictures. 

The  Innes,  three  Wyants,  Martin  and  Blakelock,  together 
with  those  already  presented,  and  those  purchased  with  the  income 
from  the  "  Hearn  Fund"  to  be  put  in  Gallery  14. 

I  will  also  add  to  the  above  American  Pictures,  enough  repre- 
sentative examples  to  fill  that  Gallery,  including  among  others, 
paintings  by  George  Fuller,  Winslow  Homer,  George  Innes, 
Theodore  Robinson,  J.  J.  Shannon,  Horatio  Walker  and 
Alexander  H.  Wyant. 

As  opportunities  offer,  I  will  from  time  to  time,  add  to,  and 
replace  with  others,  such  paintings  as  will  improve  the  collection, 
the  object  being  to  make  the  examples  a  credit  to  American  Art, 
and  a  benefit  to  the  artists  of  our  country,  with  the  trust  (i.  e. 
desire  and  hope)  that  purchases  from  fund  established,  and  pictures 
presented  will  be  kept  together. 

Sincerely  yours, 

GEORGE  A.  HEARN 


THE  METROPOLITAN  MUSEUM  OF  ART 

New  York 


Extract  from  the  minutes  of  the  meeting  of  the  Board  of 
Trustees,  held  April  19,  1909. 

RESOLVED :  That  Mr.  Hearn's  generous  offer,  made  in  his 
letter  of  April  19,  1909,  be  accepted  with  warmest  thanks,  subject 
to  an  agreement  to  be  made  by  him  and  a  Committee  to  be  ap- 
pointed for  the  purpose  of  determining  the  question  of  location 
and  arrangement  of  the  pictures. 


RESOLVED  :  That  Mr.  Hearn's  generous  gift  of  the  follow- 
ng  paintings  be  accepted  on  the  terms  of  the  preceding  resolution, 

William  Gedney  Bunce 
Bruce  Crane 
Charles  H.  Davis 
Arthur  B.  Davies 
Louis  P.  Dessar 


"Venice"  . 
"Autumn  Uplands" 
"August  . 
"  Dream  . 
"  Wood  Cart  "  . 
"  Isle  of  Shoals "  . 
"  Catskills  "  . 
"  The  Bridge  "  . 
"Roaring  Forties" 


Childe  Hassam 
DeWitt  Parshall 
A.  A.  Ryder 
Frederick  A.  Waugh 


A  true  copy  of  record. 
Attest : 


ROBERT  W.  de  FOREST, 

Secretary, 


For  particulars  of 
ARTHUR    HOPPOCK    HEARN  FUND 
See  page  108 


CATALOGUE  OF  PAINTINGS 
COMPRISING  GIFTS 

FROM 

GEORGE  A  HEARN 

AND 

PURCHASES  FROM  FUNDS  ESTABLISHED  BY  HIM 

AND  FROM 

ARTHUR  HOPPOGK  HEARN  FUND 


LIST  OF  ARTISTS  AND  THEIR  PAINTINGS 
ILLUSTRATED 


PAGE 


Abbey,  Edwin  A.  . 

King  Lear 

i  1 8 

Alexander,  John  W. 

The  Ring 

I  I  c 

Al FYANDFR      loHN  W 

A  Study  in  Black  and  Green 

7  T 

Beechey  Sir  ^Villiam 

Portrait  of  a  Lady 

I  8 

Benson,  Frank  "W. 

Portrait  of  a  Lady 

66 

Blakelock   R.  A. 

Indian  Encampment 

62 

Blakelock,  R.  A. 

Indian  Pipe  Dance 

6^ 

Blanchard,  Jacques 

Venus  and  Adonis 

A  O 

Bogert  George  H. 

Church  at  Chale 

87 

Bogert   George  H. 

October  IVloonlight 

87 

Boggs,  Frank  M. 

The  Thames,  London 

OA 

Bonington,  R.  P.  . 

Coast  Scene,  Normandy 

Brown,  J.  G. 

Meditation 

68 

Brush,  George  De  Forest 

In  the  Garden 

64. 

Bunce,  W.  Gedney 

Early  Morning,  Venice 

1 02 

Bunce,  W.  Gedney 

Venetian  Boats  

Q4- 

7T 

Callcott,  Sir  A.  W. 

Landscape 

26 

Carlsen,  Emil 

The  Open  Sea 

08 

Cassatt,  IVIary 

Mother  and  Child 

70 

Chase,  ^VILLIAM  1V1. 

Lady  of  the  Seventeenth  Century 

60 

Chase,  William  M.  . 

.     Still  Life    .  . 

84 

Church,  Frederick  S. 

IVIoonrise 

1  in 

Constable,  John 

A   Bridge  on  the  Stour 

28 

Constable,  John 

Mrs.  Pulham 

X  2 

Cotman,  John  Sell 

Worcester  Cathedral 

1 A 

Cotman,  John  Sell 

English  Village 

4-2 

Crane,  Bruce 

Autumn  Uplands 

I  O  I 

Crome,  John 

The  Road  Through  the  Forest 

30 
J  ^ 

Crome,  John 

The  Landing 

2  O 

Cuyp,  Aelbert 

Landscape  with  Cattle 

AO 

Daingerfield,  Elliott 

Slumbering  Fog 

86 

Daingerfield  Elliott 

Christ  Stilling  the  Tempest 

1 0 1 

Davies,  Arthur  B. 

A  Dream 

Q  C 

Davis,  Charles  H. 

August 

8l 

Dearth,  Henry  G. 

The  Harbor  of  Boulogne 

I  OO 

De  Hooch,  Pieter 

Dutch  Interior 

4-6 

Dessar,  Louis  P. 

The  Wood  Cart 

Q  C 

Dougherty,  Paul 

October  Seas   

82 

Fuller,  George 

The  Quadroon  

•    •  54 

Gainsborough,  Thomas 

English  Landscape  

•    •  24 

Gainsborough,  Thomas  . 

Rev.  Humphrey  Burroughs 

16 

Genth,  Lilian  M. 

.    •  78 

Harlow,  George  Henry  . 

Portrait  of  Himself  

2 

•    •  31 

Hassam,  Childe     ....  Coast  Scene,  Isle  of  Shoals   91 

Hawthorne,  Charles  W.      .  The  Trousseau   97 

Hogarth,  William     .     .     .  Peg  Woffington    .    5 

Homer,  Winslow       ...  A  Northeaster   60 

Homer,  Winslow       .     .     .  Cannon  Rock                                              .  61 

Homer,  Winslow       ...  In  the  Field   89 

Homer,  Winslow       .     .     .  Searchlight,  Santiago   59 

Homer,  Winslow       .     .     .  The  Maine  Coast   110 

Homer,  Winslow       .     .     .  Wood's  Island  Light   1  1  1 

Hoppner,  John       ....  Lady  with  a  Coral  Necklace   21 

Huysmans,  C.        ....  Landscape  with  Figures    42 

Inness,  George      ....  Evening  at  Medfield   57 

Inness,  George      ....  Peace  and  Plenty   56 

Inness,  George      .     .     .     .  Spring  Blossoms   112 

Jongers,  Alphonse      .     .     .  George  A.  Hearn      .   50 

Jongers,  Alphonse       .     .     .  Arthur  H.  Hearn   109 

Jongers,  Alphonse      .     .     .  Louise   73 

Jongkind,  J.  B   Sunset  on  the  Scheldt   45 

Kendall,  William  Sargent    .  The  Seer   74 

Kendall,  William  Sargent   .  Psyche   75 

Kneller,  Sir  Godfrey     .     .  Lady  Mary  Berkeley      .......  7 

Kronberg,  Louis   ....  The  Pink  Sash   107 

Lathrop,  W.  L   The  Meadows   100 

Lawrence,  Sir  Thomas     .     .  Lady  Ellenborough   22 

Lawrence,  Sir  Thomas    .  Miss  Baring   23 

Lawson,  Cecil  Gordon   .     .  Landscape  with  Sheep     .    37 

Lely,  Sir  Peter    ....  Sir  William  Temple    6 

Lockwood,  Wilton    .     .     .  Peonies   102 

Lorrain,  Claude         ...  A  Seaport   47 

Martin,  Homer  D.    .     .     .  Sand  Dunes,  Lake  Ontario   58 

Miller,  Richard  E.    .     .     .  The  Chinese  Statuette   105 

Millet,  Francis  D.     .     .     .  An  Old  Time  Melody   106 

Morland,  George      .     .     .  Midday  Meal   25 

Murant,  Emanuel      .     .     .  The  Farm   43 

Murphy  J.  Francis    .     .     .  The  Old  Barn   92 

Mytens,  Daniel    ....  King  Charles  I   38 

Nasmyth,  Patrick      .     .     .  Landscape   33 

Parshall,  De  Witt    .     .     .  The  Catskill  Mountains   85 

Paxton,  William  McGregor  Tea  Leaves   96 

Phillip,  John        ....  Gossips  at  the  Well   36 

Pine,  Robert  Edge     .     .     .  Mrs.  Reid  as  a  Sultana   19 

Poussin,  Gaspard        .     .     .  Landscape  and  Figures   48 

Raeburn,  Sir  Henry       .     .  William  Forsyth   20 

Ranger,  Henry  W.    .     .     .  Spring  Woods   88 

Reid,  Robert   Fleur-de-lys    .     .     .   77 

Reynolds,  Sir  Joshua  .     .     .  The  Duke  of  Cumberland   13 


3 


Reynolds,  Sir  Joshua  .     .     .  Master  Hare   12 

Reynolds,  Sir  Joshua  .     .     .  Mrs.  Angelo   .10 

Reynolds,  Sir  Joshua  .     .     .  Mrs.  Arnold  ...11 

Reynolds,  Sir  Joshua  .     .     .  Mrs.  Barnard   ..15 

Reynolds,  Sir  Joshua  .     .     .  Portrait  of  a  Lady   14 

Robinson,  Theodore   .     .     .  Giverny,  France   85 

Romney,  George        .     .     .  Lady  Hamilton   17 

Ryder,  Albert  P.      ...  The  Bridge   88 

Sargent,  John  S.        ...  Gitana   70 

Sartain,  William       ...  A  Chapter  from  the  Koran   92 

Scofield,  W.  Elmer   .     .     .  Sand  Dunes  near  Lelant   101 

Shannon,  J.  J.            ...  Magnolia   76 

Shannon,  J.  J.       ....  Fairy  Tales   117 

Speicher,  Eugene       .     .     .  Morning  Light   91 

Stark,  James  Willows  by  the  Water  Courses       .     .     .     .  34 

Thayer,  Abbott  H.  .     .     .  Young  Woman   55 

Twachtman,  J.  H.      ...  A  Waterfall   90 

Tryon,  D.  W.           .     .     .  Moonrise  Before  Sunset    93 

Tryon,  D.  W.           ...  Moonlight   89 

Van  den  Eeckhout,  G.  .     .  Sodom  and  Gomorrah     ...          ...  43 

Van  Dyck,  Anthony  .     .    .  Baron  de  Roy  Frontispiece 

Van  Dyck,  Anthony  .     .     .  Thomas  Howard  and  Grandson      .     .     .     .  39 

Van  Ostade,  I.           ...  Winter  in  Holland   44 

Vedder,  Elihu           .     .     .  The  Pleiades    93 

Vincent,  George        .     .     .  Landscape   27 

Volk,  Douglas           .     .     .  Young  Pioneer   72 

Walker,  Henry  Oliver  .     .  The  Morning  Vision   116 

Walker,  Horatio       .     .     .  The  Harrower   113 

Walker,  Horatio       .     .     .  The  Harrower,  Early  Morning      ....  84 

Walker,  Horatio       .     .     .  The  Sheep  Fold   86 

Watrous,  H.  W.       .     .     .  The  Passing  of  Summer   104 

Waugh,  Frederick  J.       .     .  The  Roaring  Forties   99 

Weir,  J.  Alden          .     .     .  The  Green  Bodice   67 

Whistler,  James  McNeil     .  Connie  Gilchrist   65 

Wiggins,  Guy  C.       ...  Metropolitan  Tower,  N.  Y   103 

Willaerts,  Adam       .     .     .  River  Scene  with  Boats  .     .     .     .     .     .     .  41 

Williams,  F.  Ballard      .     .  L' Allegro   80 

Williams,  F.  Ballard      .     .  The  Happy  Valley   81 

Wilson,  Richard        .     .  Italian  Landscape   8 

Wilson,  Richard        .     .     .  Landscape  and  Figures   33 

Wilson,  Richard        .     .     .  The  Storm   9 

Wyant,  Alexander  H.    .     .  A  Glimpse  of  the  Sea   53 

Wyant,  Alexander  H.    .     .  The  Broad  Silent  Valley   51 

Wyant,  Alexander  H.     .     .  The  Mohawk  Valley      .     .     .     .     .          .  114 

Wyant,  Alexander  H.    .     .  Landscape  in  the  Adirondacks   52 


4 


5 


/ 


SIR   GODFREY  KNELLER,  1646-1723  LADY  MARY  BERKELEY 

CANVAS      H.  28  IN.      W.  24  IN.      SIGNED      DATED  1700 


7 


9 


SIR  JOSHUA  REYNOLDS,  P.  R.  A.,  1723-1792 

CANVAS       H.  29  IN.       W.  24^  IN. 


MRS.  ANGELO 


SIR  JOSHUA  REYNOLDS,  P.  R.  A.,  1723-1792 

CANVAS       H.  28%  IN.       W.  24  IN. 


MRS.  ARNOLD 


SIR  JOSHUA  REYNOLDS,  P.  R.  A.         H.  R.  H.  WILLIAM  AUGUSTUS 
1723-1792  DUKE  OF  CUMBERLAND 

CANVAS       H.  49  IN.       W.  39  IN. 


13 


'4 


SIR  JOSHUA  REYNOLDS,  1723-1792  PORTRAIT  OF  MRS.  BARNARD 

H.  50  IN.       W.  40  IN. 


/ 


i9 


JOHN  HOPPNER,  R.  A.,  1758-1810       LADY  WITH  A  CORAL  NECKLACE 
CANVAS      H.  28%  IN.      W.  2S%  IN. 


SIR  THOMAS  LAWRENCE,  1769-1830  PORTRAIT  OF  MISS  BARING 

H.  50  IN.       W.  40  IN. 


23 


25 


26 


2- 


2  8 


GEORGE  HENRY  HARLOW,  1787-1819  PORTRAIT  OF  THE  ARTIST 

CANVAS      H.  29  IN.      W.  24  IN. 


PATRICK  NASMYTH,  1786-1831  LANDSCAPE 

CANVAS       H.  14  IN.       W.  19  IN.  SIGNED 


JAMES  STARK,  1794-1859  WILLOWS  BY  THE  WATER  COURSES 

CANVAS       H.  17%  IN.       W.  23  IN. 


JOHN  SELL  COTMAN,  1782-1842  WORCESTER  CATHEDRAL 

CANVAS.      H.  27^  IN.      W.  35&  IN. 


34 


35 


36 


37 


38 


ANTHONY  VAN  DYCK,  1599-1641  THOMAS  HOWARD,  EARL  OF  ARUNDEL 
AND  HIS  GRANDSON  HENRY,  SIXTH  DUKE  OF  NORFOLK 
H.  97  IN.       VV.  56  IN. 


39 


4i 


CORNELIS  HUYSMANS,  1648-1727  LANDSCAPE  WITH  FIGURES 

CANVAS       H.  21%  IN.       W.  30  IN. 


EMANUEL  MURANT,  1622-1700  THE  FAR 

CANVAS       H.  14  IN.       W.  1H%  IN. 


44 


45 


47 


4x 


49 


52 


57 


58 


59 


RALPH  ALBERT  BLAKELOCK,  1847-  INDIAN  ENCAMPMENT 

CANVAS       H.  37  IN.       W.  40  IN.  SIGNED 


62 


64 


J.  A.  McNEIL  WHISTLER,  1834-1903       CONNIE  GILCHRIST 
H.  72  IN.        W.  40  IN. 


6," 


FRANK  W.  BENSON,  1862-  PORTRAIT  OF  A  LADY 

H.  40  IN.      W.  32%  IN. 


JULIAN  ALDEN  WEIR,  N.  A.,  1843-  THE  GREEN  BODICE 

CANVAS       H.  33  IN.       W.  24  IN. 


6- 


68 


JOHN  S.  SARGENT,  1856-  GITANA 
H.  24  IN.       W.  20  IN.  SIGNED 


DOUGLAS  VOLK,  1856-  THE  YOUNG  PIONEER 

H.  30  IN.       W.  16  IN. 


J.  J.  SHANNON,  1863  MAGNOLIA 
CANVAS      H.  71  IN.      W.  38^  IN.       SIGNED  AND  DATED  1899 


LILIAN  M.  GENTH,  1876-  SPRINGTIME 

H.  39  IN.      W.  30  IN. 


78 


79 


8o 


Si 


X 

< 

W 

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£- 
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GO 
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P 
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83 


HORATIO  WALKER,  1858-  THE  HARROWER,  EARLY  MORNING 

H.  28  IN.      W.  38  IN. 


THEODORE  ROBINSON,  1854-1896  GIVERNY,  FRANCE 

H.  25  IN.      W.  32  IN. 


85 


86 


MHjflBB  ii  iii'iiJWiH  i  ii  m  ii 

\ 


GEORGE  H.  BOGERT,  A.  N.  A.,  1864-  OCTOBER  MOONLIGHT 

CANVAS       H.  18  IN.      W.  30  IN.  SIGNED 


GEORGE  H.  BOGERT,  A.  N.  A.,  1864-  CHURCH  AT  CHALE 

ISLE  OF  WIGHT 

CANVAS     H.  28  IN.      W.  36  IN.  SIGNED 


87 


ALBERT  P.  RYDER,  1847- 

H.  9%  IN.      W.  2Q%  IN 


THE  BRIDGE 


DWIGHT  W.  TRYON,  N.  A.,  1849-  MOONLIGHT 
CANVAS      H.  13  IN.      W.  21%  IN.  SIGNED 


I 


/ 


EUGENE  SPEICHER,  1883-  MORNING  LIGHT 

CANVAS      H.  27%  IN.       W.  34  IN. 


CHILDE  HASSAM,  1859- 


COAST  SCENE,  ISLE  OF  SHOALS 
H.  25  IN.      W.  30  IN. 


J  FRANCIS  MURPHY,  1853- 

H  24  IN.       W.  36  IN. 


THE  OLD  BARN 


D.  W.  TRYON,  N.  A.,  1849-  MOONRISE  BEFORE  SUNSET 

H.  24  IN.         W.  29  IN. 


93 


W.  GEDNEY  BUNCE,  1840- 

H.  40  IN.      W.  56  IN. 


VENETIAN  BOATS 


ARTHUR  B.  DAVIES,  1862- 

H.  18  IN.       W.  30  IN. 


A  DREAM 


CHARLES  W.  HAWTHORNE,  1872-  THE  TROUSSEAU 

H.  42  IN.      W.  40  IN. 


<J9 


IOO 


BRUCE  CRANE,  1857- 


H.  27  IN.       W.  40  IN. 


AUTUMN  UPLANDS 


WILLIAM  GEDNEY  BUNCE,  1840-  EARLY  MORNING,  VENICE 

H.  16  IN.      W.  12  IN. 


GUY  C.  WIGGINS,  1888-  THE  METROPOLITAN  TOWER 

CANVAS        H.  34  IN.       W.  40  IN. 


LOUIS  KRONBERG,  1871-  THE  PINK  SASH 

CANVAS       H.  30  IN.       W.  32%  IN. 


107 


ARTHUR 


! 

HOPPOCK 


HEARN   MEMORIAL  FUND 


20  West  Fourteenth  Street 

Wednesday,  June  14,  191 1 

Dear  Mr.  de  Forest: 

In  memory  of  my  son,  the  late  Mr.  Arthur  Hoppock  Hearn, 
I  offer  to  the  Metropolitan  Museum  of  Art : 

"Portrait  of  Arthur  Hoppock  Hearn"  by  Alphonse  Jongers 

"Maine  Coast"   by  Winslow  Homer 

"Wood's  Island  Light"  by  Winslow  Homer 

"The  Harrower,  Morning"      ...    by  Horatio  Walker 
"  Spring  Blossoms  "  by  George  Inness 

In  connection  with  above,  and  for  the  encouragement  of  the  art 
of  painting  in  this  country,  I  will  also  give  One  Hundred  Thou- 
sand Dollars  ($100,000)  in  cash,  to  be  invested  by  the  authorities 
of  the  Museum  in  such  securities  as  their  judgment  may  deem 
advisable,  the  income  to  be  expended  for  paintings  by  persons  now 
living  who  are,  or  may  be  at  the  time  of  purchase,  citizens  of  the 
United  States  of  America,  or  by  those  hereafter  born,  who  may  at 
the  time  of  purchase  have  become  citizens  thereof. 

And  I  desire  to  empower  the  authorities  of  the  Museum,  as 
now  or  hereafter  constituted,  to  exchange  or  sell  any  painting  or 
paintings  purchased  with  income  of  this  Fund  of  One  Hundred 
Thousand  Dollars  ($  100,000);  such  paintings  to  be  exchanged  for, 
or  proceeds  of  paintings  sold  to  be  expended  for,  another  painting 
or  paintings  by  citizens  of  the  United  States  of  America,  as  limited 
in  last  preceding  paragraph. 

The  Fund  to  be  known  as  the  Arthur  Hoppock  Hearn  Fund, 
and  pictures  purchased  therewith  to  be  inscribed  "Arthur  Hoppock 
Hearn  Fund." 

Above  named  paintings  and  those  purchased  with  proceeds  of 
income  of  this  Fund  to  be  kept  with  the  other  American  Paintings 
that  have  been  or  may  be  purchased  from  Funds  established  by  me. 

Sincerely  yours, 

GEORGE  A.  HEARN 

MR.  ROBERT  W.  DE  FOREST,  Vice-President 

Metropolitan  Museum  of  Art,  New  York  City 


Above  was  accepted  with  thanks  and  request  that  Mr.  George 
A.  Hearn  would  have  his  portrait  painted  for  the  Museum. 


I  IO 


1 1 1 


112 


"3 


ii4 


JOHN  W.  ALEXANDER,  1856-  THE  RING 

CANVAS       H.  40  IN.       W.  30  IN.  SIGNED 

Presented  by  Mrs.  Herbert  S.  Greims  in  memory  of  her  brother,  Arthur  Hoppock  Hearn 


"5 


U7 


THE  WINTHROP  PRESS 
NEW  YORK 


GETTY  CENTER  LIBRARY 


